Summary of conference by Iain
Reid, Chair
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Discussions included the
following topics:
What kind of models of
'school' should be followed?
What kind of ethos should the 'schools' have?What kind of learning environment
should the 'school' have?
- "Metissage";
interbreeding and collaborations between art forms and
methods of working
How does one improve on the
current and insufficient access to training of the
'right-kind' in this country?
- The Millennium Show
What impact will this show have on circus in this
country?
What are the dangers of this show?
What are the advantages/disadvantages of having one
national circus company in UK?
- Training Young People
Some trainees are either predominantly technically
competent or artistically interesting.
How does the trainer ensure
a balance in the training of both?How can creative companies be
established and work whilst using and blending the skills
of both?
How can one ensure that
people are taken on for their own strengths?
- The lack of training for
trainers
How can one ensure that there is a sufficient stock of
people with competencies to train both now and in the
future?
- The economics of circus
There is no investment in UK for the R&D and
preliminary production stage of circus. Such investment
would then allow for circus to be commercially exploited
to its full potential.
- The nature of training
Is it training in vocational skills/ training to be a
circus artist/ or educating people for life?
- Exploitation of artists
Are circus artists exploited?
Can 'exploitation' be used
or interpreted as an opportunity for artists to showcase
their work?
"appropriation" - analogous to the ways in
which Black music has been appropriated by the music
industry;is it
important for circus artists to protect their own image?
- The image of circus
The strength of circus lies in the fact that it
represents what is going on around us. It can be used as
a vehicle for demonstrating danger; the fragmentation of
society; the whole philosophy of the travelling village.
Some may not like the excitement and danger, whilst
others love this 'unknown place'.
- The lack of Capital
Investment in Circus
The lack of Lottery investment in circus is particularly
pertinent.
Why are so few applications
made by the sector?
- The relationship between
contemporary and traditional circus
What are the similarities and differences of the two
styles?
How can practitioners work together?
- The over-exposure of circus
Is it dangerous to
invest/fund something that is underdeveloped?
In conclusion:
Circus is not on a level playing
field in comparison to other artforms.
There is a need to establish an
infrastructure where there are:
- proper training
opportunities at all levels;
- access to professional
advice, technical services, health and safety;
- money for investment
(particularly the investment in R&D);
- advocacy for the sector.